Ausglass Magazine
A Quarterly Publication of the
Australian Association of Glass Artists
SUMMER
Registered by Australia Post. Publication No. SSG 1446.
EDITION
1987-88
Contents
Lutz Haufschild
4
Jam Factory - New Furnace
Exhibitions in Review
5
6
7
9
Exhibitions in Review
10
Competitions & Exhibitions
12
Competitions & Exhibitions
12
Jam Factory - New Furnace
Artist in Profile - Michele Fermanis-Winward
ausglass
•
magazine
SUMMER EDITION
1987-88
Editor:
Jan Aspinall
Co-Editor:
Alex Wyatt
FRONT COVER:
Budgeree Glass from their marble series.
NEXT ISSUE:
All contributions must reach the Editor C/- 312a Unley Rd,
Hyde Park, SA 5061 by 8th March 1988.
1987-88 Committee Members SA
President: Nick Mount
Vice President: Berin Behn (flat glass)
Vice President: Gerry King (hot glass)
Secretary: Judy Hancock
Treasurer: Jud Chatfield
Editor: Jan Aspinall
Memberships: Declan Somervile
Committee: Alex Wyatt, Peter Tysoe, Jan Beyer
Assistants:
Rosemary Prentice
Kate Forrest
Greg Price
Berin Behn
Eva Kemp
Letters and Correspondence to:
312a Unley Rd
Hyde Park
SA 5061
Ph: 272 3392 or 271 2820 a.h.
MEMBERSHIP ENQUIRIES:
Declan Somervile
68B Woodville Rd, Woodville
SA 5011 Ph: 268 3174
Printed by Solar Print, 4 Albert St., Thebarton
3
LUTZ HAUFSCHILD
Architectural Glass Artist
For those who may not have seen any of Lutz
Haufschild's work before, this will give you a little more
understanding of the man and of the stained glass
commissions he has been involved with.
Lutz Haufschild is a sculptor and stained glass artist,
living in Vancouver, British Columbia, Canada. He has
worked with Johannes Schreiter and was twice teaching
assistant to Jochem Poensgen at Pilchuck School. He
has created some of the largest stained glass
commissions in Canada. Of these, his Scotia Diagonal
would be the best known to uS.The 10 metre x 10 metre
glass window is situated in a five storey atrium which
connects two office towers. In producing this window Lutz
has combined antique glass and plexiglass. Recently he
has completed another very large commission for
Robson Court, 8 metre x 10 metre, made in 1986, as well
as numerous private commissions, such as pictured, one
of nine windows.
Above right: Scotia Oiagona/10m x 10m window, 1982
commission. Right: Robson Court window approx. 8m x 10m,
1986 commission.
4
NEW FURNACES AT THE
JAM FACTORY GLASS WORKSHOP
Article by Peter Tysoe, head of the hot glass workshop, Jam Factory, Adelaide.
In the Autumn of 1986 it became clear that our continuous melt tank furnace was deteriorating and a complete
rebuild was necessary. The glass being melted was an
ACI Cullet, amended for hand-working with the addition
of chemicals.
While the continuous melt system had practical advantages in allowing hot glass to be available at all times, the
quality of the glass was extremely variable and in spite of
the addition of decolourising agents, was rarely clear in
colour. Trainees could spend up to two years in the
workshop without having the experience of preparing a
batch from raw materials, charging the furnace and
seeing a complete melting and "firing" cycle.
The decision was made to replace the old furnace with
two smaller types - one double pot furnace and a tank.
During the close-down period in January '87 the equipment was completely dismantled - the old canopy
removed and the double pot furnace was built mainly
from bricks recovered from the old furnace. The burner
was a premix sealed tunnel type of 500,000 BTU max.
output, supplied by N.G. Brown Associates of Melbourne.
It has a good turn-down ratio and is very quiet in operation. Pots holding approximately 60kg of glass each were
bought from Heat Containment Industries - more of
these later!
The pot furnace is basically a rectangular box - 2,000mm
long x 1,240 wide x 800 high overall, with a 2 section
cast refractory arch. It is cased in thin steel sheet and
held together with a removable steel framework. The
front section with 2 gathering pots can easily be dismantled for removal and replacement of pots. With
constant budget restrictions, amendments were made to
the basic design to allow the use of bricks and materials
available in the workshop.
It has worked well and we first used a Barium clear glass
recipe designed by Vaughan Bryers. The silica used was
a flour, which we have subsequently changed to sand as
white inclusions occurred if the temperature was not
taken to over 1350°C for some hours. Silica flour tends to
fly all over the place when charging the furnace and is a
considerable health hazard. The larger particle size of
sand allows the batch to be melted slightly "cooler". It
does not compact down as much as the flour and will not
"bind" to chemicals during melting. We melted the same
recipe, using sand in one pot and flour in the other and at
an indicated temperature of 1300°C the sand was clear,
whilst the flour mix still had small white inclusions, which,
when tested, showed to be pure silica in the centre.
On a normal working temperature tests showed that this
furnace costs approximately $1 .20 per hour to run.
When the old furnace was removed it became possible to
recover a depth of 1.5 metres of the workshop floor area
by siting the pot furnace lengthways - parallel to the wall.
A new continuous canopy was built which covers the 2
walls where furnaces and gloryholes are situated. It
slopes up from either side to the extractor fan in the
corner of the workshop and hopefully cuts down on the
heat in summer.
The second tank furnace, which holds 400kg of glass,
was built and positioned in the corner of the workshop in
May. It is based on a design which I used in my workshop in England and uses a North American "flat flame"
burner, set in a cast slab which forms the roof of the
square tank. The interior of the chamber is 760mm
square - the maximum glass depth being 350mm. The
cast slab is the same depth as the burner block 175mm. In England my tank was smaller and had a
350,000 BTU burner, here the burner is rated at 500,000
BTU's. The flame spins out from the orifice and sweeps
around the walls, giving good radiant heat. With the
square configuration the batch is heated evenly and no
cold spots occur. It melts batch efficiently and the quality
of glass is excellent. The running cost is approximately
the same as the pot furnace.
We have now settled on a non Barium, clear soda glass
based on a recipe from the U.S. which gives good results
when used with Kugler & Zimmerman colours.
The glass contact bricks used on the interior were ZALCON Z, which we had in stock. Ideally, we would have
used Monofrax slabs, but those available in Melbourne
would have cost $1,000 per square metre to cut to size
and our budget would not stand it. After seven months
the Zalcons are standing up well and we hope to get at
least another year out of them!
A real problem in working hot glass in Australia is the
lack of good commercial pots. The Heat Containment
product lasts only four months before a small hole appears, which eventually develops into a crack. Our
second set has just broken. When the broken pot is
examined it shows porosity, with numerous air bubbles.
On investigation I find that they are not vacuum cast and
in spite of pleas from us and their Adelaide branch
manager (who is very concerned) the company do not
seem willing to overcome this problem.
I have written to England to see if we can import siliminite
pots being made there and used in many of the studios.
There are also some good pots being produced in the
U.S. but they appear to be expensive.
Hopefully the Jam Factory may be in a position to act as
an agent for a reliable product in the future, but long term
5
New furnaces at Jam Factory Glass Workshop continued ...
we need to encourage the development of good commercial, long lasting pots, here. I have suggested to Heat
....-------::----..........- ...--------.....,...--Containment that they make this their Bicentennial
project!
Overall, the new layout of the Jam Factory Glass Workshop is an improvement and with 2 furnaces we have
more flexibility in being able to melt colours when required. The trainees and staff built the canopy and
equipment themselves and when on "store duty" have
the additional task of mixing batches, which is not pleasant work. But the experience of taking the glassmaking
process through from the raw materials to the final melt
should widen their experience.
With funding becoming more uncertain, we are under
considerable pressure to produce more each month and
the supply of a "better" glass has made it possible to
improve the overall quality of our work in the market
place.
6
glass artists in profile:
MICHELE FERMANIS-WINWARD
N.S. w. State Representative
I was fired by creative enthusiasm at an early age; I
discovered that clay portrait heads of newly departed
relatives presented to their bereaved partners created
interesting and dramatic results.
By way of preventing the family having me committed to
a home for delinquent girls my parents purchased a large
box of coloured pencils, and so began my career as a
compulsive collector of coloured pencils.
It was about this time that my passion for collage took
hold. The fondly remembered tired fungi and dehydrated
frog assemblages of my pre-adolescent years developed
in me a penchant for experimentation in isolation mothers can be cruelly unappreciative of art I observed.
Eventually this gave way to puberty where I took out my
aggression on slabs of stone which were hacked beyond
recognition within the privacy of my bedroom.
Glass and I finally "clicked" in 1983 af1er meanderings
with plastics, stone, fibre and a serious committment to
ceramic sculpture. My approach, no matter what the
medium, is always the same - a combined aesthetic and
technical challenge focused on a particular idea; work it
through and then move on.After all, one wouldn't want to
get bogged down.
Experiments with fused glass began with the idea of
working on the edge of incompatability and the
expressive qualities possible when metals, found objects
and various glasses were combined and juxtaposed. This
developed in me an acceptance of failure as a natural
part of the artistic process.
Recently I have been exploring some ideas associated
with perception; the now, why and what we see. A solo
exhibition in 1985 entitled "City Limits" looked at what we
accept and reject in the city's image. How we define "the
beautiful" in an environment of constant change.
Last year I wandered through the scenes of my childhood
and considered how the adult eye sof1ens, re-aligns and
distorts these memories.
The work in the studio at the moment has to do with light
and how it fragments and facets and diffuses the world
around us on its own and through glass.
And tomorrow - I wouldn't have a clue, though I think I'd
like it to be a protest against the bi-centenary.
Clay exhibit by Michele Fermanis-Winward.
WESTERN AUSTRALIAN GLASS EXPO
Rumblings from o'er the Nullabor
The Story of Glass
Prism Galleries Sept. 10-20th 1987, Fremantle
With sunny weather and amidst rumors Neil Roberts was
in town to stage another" Beirut By Night" with the
visiting U.S. 5th Fleet, "The Story of Glass" commenced
at Prism Galleries in Fremantle.
This exposition was designed to stimulate awareness and
appreciation of glass in all its diverse forms. By focusing
on general interest and educational aspects, like the
historial development of technique and associated
technology, and by including a range of functional
applications, glass was presented as an extremely
versatile and precious material.
Exhibitors included private collections of ancient and
antique glass ware, naturally occuring and man-made
'crystals' leadlight suppliers, neon, engraving, optical and
fibre-optical suppliers, photographic equipment, scientific
glass-ware, antique glass jewellery, fibre glass, a display
of historical telescopes, laser-opticsand holograms.
In conjunction with these displays, an exhibition of
7
(Continued from page 7)
1111
contemporary Australian art glass was staged.
Participating artists included Don Wreford, David Turner,
David Wright, Graham Stone, Tony Hanning and Toucan
glass from Victoria, Nick and Pauline Mount, Steven
Skillitzi, Pavel Tomecko, Terry Beaston, Berin Behn and
Jan Aspinall from SA Alan Fox, Judy Kotai, Gene Polt,
Alasdair and Eileen Gordon and Colin Montford from
W.A.
Ausglass participated with an exhibition of works by the
expanding list of local members (hot, warm, cold),
incorporated within a display of photos and info from
Ausglass Conference '87 and info on the workings of
Ausglass (some 300 plus information brochures plus
membership forms were distributed to interested
members of the public).
Successful workshops were given by David Turner in
glass fusing, and Don Wreford in glass casting. The
participants in these workshops I talked to were well
satisfied with their results, and felt they received "good
value" foundations in the respective techniques.
Demonstrations of glass-blowing were also conducted for
the duration of the Expo in the courtyard at the rear of the
gallery. These proved very popular with the public and
many thanks to all the Ausglass members who donated
their time to help keep these virtually continuous in some
very hot conditions. Demos of sheet-glass rolling were
conducted twice daily by Freedom glass of east
Fremantle and lead-lighting demos were shown by
creative stained glass of Mt. Lawley.
The quality and range of exhibitors was first class and the
public response was especially encouraging ("I now have
a clearer view of glass" being the most quotable).
In conclusion, a word of thanks to the many sponsors, T
& K Glass for their generous assistance with freight, w.A.
Crafts Council for their assistance with the freighting of
Don and David, Kleen Heat (how much do you want?)
Gas, Steve (just tell me what you need) from the potters
market and Freedom Glass who assisted with the
installation and batching of the mobile furnance and
ancillary equipment, and who turned over their studio for
workshop space for the duration, and to Colin, Robyn,
Sharon, Maurice and Mike (I'll fix it!) from Prism Galleries
for co-ordinating this unique event.
105 Newlands Road, Coburg.
Phone: (03) 350 4044.
R
adiant Stainless Products
manufacture and
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Because we use only quality Lead
Ingot In manufacturing, our Lead
Came Is widely accepted by many
studios and other users, such as
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Our brochure highlights the
broad range of product which we
currently manufacture but we
always welcome Ideas and
suggestions to Improve our
product range.
Our Window Lead Is normally
supplied in 1200-1300mm lengths
and is packed In sturdy 25 kg
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or. on reels if required.
Our product is distributed
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We believe that ourproduct
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requirements and trust that you
will find it easy to use and most
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Please contact us if you have
any queries. - it's the start of the
Radiant revolution.
Gerry Reilly
W.A. State Rep.
L.F. Spittle
Mana,er - Lead Products
8
AN EXHIBITION OF RECENT WORK IN
GLASS AND MIXED MEDIA
ISGARD MOJE-WOHLGEMUTH
GLASS ARTISTS GALLERY
OCTOBER
Isgard Moje-Wohlgemuth's works have an innate quality
that crosses the bounds of "trends" - an ageless quality.
Deb Cocks
German glass artist
Isgard Moje-Wohlgemuth was exhibiting concurrently at
the Devise Gallery in Melbourne and the Glass Artists'
Gallery in Sydney. The Sydney exhibition showed her
jewellery and some smaller vessels.
Moje-Wohlgemuth uses metallic oxides, building them up
through several firings, often sandblasting designs
between firings. The results are subtle layers of metallic
surfaces with an organic feel. In the jewellery the lustred
tubing is sometimes captured in finely woven gold
threads and in others it serves as the beginning or end.
The designs of the neckpieces are stunning in their
"intricate" simplicity. Her arm pieces again invite one to
peer closely to discover the detail. They are tactile, the
temptation is there to trace the designs with a finger, the
colours and shadows changing as they move.
The smaller vessel shapes gave just a taste of the larger
ones at the Devise gallery. Isgard sometimes allows the
rims and walls to slump and distort - re-inforcing that
organic tactility.
Isgard Moje-Wohlgemuth, Necklace using Glass, gold and
silver.
WEAR IT WITH GLASS
as reviwed by Marjory Bennetts
(courtesy of The Sydney Morning Herald, 17th Sept.)
Exhibition presented at the Glass Artists Gallery
glass handbags by Chuck Simpson
Coctail hats by Deb Cocks
Cowboy hat by Bridget Hancock
If Cinderella had been looking for the right handbag to
match those glass slippers she wore to the ball, she
would have found it at the Glass Artists' Gallery in Glebe.
Two small glass handbags - just the thing for a night of
fairytale fun - are among the objects in the gallery's
Wearable Glass exhibition. And they are wearable, made
from thick and beautifully coloured iridescent glass,
complete with leather linings and straps.
And if Cinders had wanted a matching hat, the gallery
could easily have arranged that, too. In fact, the
exhibition's most memorable items are the hats,
especially the cocktail hats which are definitely the last
word in glass chic.
They have delicate glass spirals and squiggles attached
to a small glass dome supplied with ribbons so that the
creation can be securely anchored to the head. They
9
EXHIBITION IN REVIEW
seemed too delicate to survive the cocktail circuit, but
Maureen Cahill, one of the gallery's directors, was
adamant they would stand the pace.
More solid looking was a cowboy hat in opaque glass
that, perhaps, wouldn't travel as beautifully as it looked,
making the wearer feel just a bit top heavy.
While most of the other permanent exhibits in the gallery
aren't made for adornment, they are also highly original.
There are beautiful glass wall panels and huge heads
called fused glass portraits.
According to Cahill, and her co-director, Giselle Courtney,
the gallery is the only one of its type in the country
displaying such a range and quality of glass items.
"This gallery happened because there was nowhere to
display work of this calibre in Australia. What we are
doing is showing glass in an art context; our motto is
challenging the traditional notion of glass being simply
functional," says Cahill.
Cowboy hats aside, most of the other items in the present
Wearable exhibition are eminently wearable and include
earrings, chunky bracelets and multi-coloured brooches.
There really is something for everyone's taste. As Cahill
puts it: "Glass crosses all boundaries."
Gerry King and Students S.A.C.A.E. Glass Studio, held at "Studio 20", Blackwood S.A.
Recently an unusual exhibition was staged at Studio 20
Crafts Gallery in the Adelaide Hills. Both teacher (artist)
Gerry King and his students from the Glass Studio at the
College of Advanced Education displayed their work
together. Gerry's work involved the use of glued, fused
and slumped glass, giving a milk like colour and rough
texture through the use of talc in the firing.
The title of Gerry's component was called "View With A
Room:"" not to be confused with the obvious. One of his
pieces, "Room of a Nuclear Family" (pictured), was
purchased by the Wagga Wagga City Gallery as part of
"View with a room" - Gerry King.
10
their National Contemporary Glass Collection.
The exhibition received very high acclaim and Gerry tells
me sales were gratifying. All in all for Gerry this exhibition
offered a new approach to his glass work.
The students, for their part, gained exposure and
experience with exhibiting and dealing with the public.
Many sales were made and as a result some students
have entered into a commercial relationship. If more
students were able to display their work in this manner in
a commercial gallery it certainly would be to their
advantage.
S.A.C.AE student's work.
BUDGEREE GLASS
A personal view by Greg Price
I work for the president - and the first lady; of Ausglass
that is. I've been working for Nick and Pauline Mount for
almost three years now, and I'm still learning. We're very
busy, more so all the time. This is because we do good
work - Nick as the "kingpin" and the rest of us dependant
upon his skills.
This is a kind of Catch 22 situation. There is a vast
amount of work to be done, and a limited capacity for any
one person to produce more than is physically possible.
Ideally it would be marvelous to have "x" number of
people who could produce a range of products
indentifiably attributable to "Budgeree". Practically
however, this is difficult because there is so much work
there is little time to train a team of blowers to do what
Nick does, as well as he does it.
There is a quality of product which cannot be
compromised, though the desire for a more rapid growth
is a pressing imperative.
My experience at "Budgeree" has been extraordinarily
rewarding for a number of reasons. It has given me
direction and an occupation which I enjoy. I spend a
great deal of time with the Mount family and like them all.
I've watched the establishment of one of the foremost
studios in Australia occur in Norwood (literally from the
empty shells of buildings at 20 William Street) to what is
now "Budgeree Glass", with much enthusiasm, a little
cynacism and a lot of laughs.
lowe the Mounts a great deal. In a sense I walked in off
the street, talked my way into a job setting up the then
new premises and stayed to become Nick's assistant. All
this with absolutely no background in glass whatsoever.
I've had a few exhibitions now and my personal work
appears to be a saleable commodity. It would be
presumptuous to suggest that my work is anywhere near
the standard that Nick produces so consistantly, but I'm
pleased with the progress so far. I've come to understand
that there is little point to rushing into anything to do with
glass. It must be handled with care and understanding,
and treated like a valued friend before it understands
your intentions.
It's very easy to lose a piece of blown glass in the
production process. It's rare to come close to some
"purity" of form. To do it as consistently as Nick does is
rarer still.
ACE CHEMICAL CO.
Full ran~e of chemicals available for glass making & colour
•
Quotations given on request. •
Contact:
10 Wodonga Street
Beverly, S.A 5009.
ACE CHEMICAL CO.
Ph.(08) 268 5055
11
COMPETITION & EXHIBITION NEWS
1988 exhibitions
Wagga Wagga Art Gallery
4th National Studio Glass
Exhibitions
Closing date for entries 30th June
'88.
For entry forms write to:
Gallery Director
P.O. Box 20
Wagga Wagga 2650
Phone (069) 21 3621
DIAMOND VALLEY ART AWARD
Entry forms available from The
Recreation Dept.,
Shire of Diamond Valley,
P.O. Box 115
Greensborough, 3088
Phone (03) 435 7411
Exhibition to be held, October '88
Cocks and Blum's workshop is
now open.
Access days are Tuesday,
Wednesday and Thursday.
Machinery includes kilns, belt sander,
sandblaster, engraver and
lampworking equipment. You can
hire one piece of machinery for half
and hour or have full workshop use
for a whole day or half a day.
Our first weekend workshop will be in
January 1988.
All enquiries to Jan or Deb on 560
9136.
Located at: 38-40 John Street,
LEICHHARDT 2040
N.S.W.
WASSER GLASS FOR FUSING
ARTISTS
At first sight, you know this is a
strikingly different glass. The colours
are unlike any you have seen.
They're brilliant, dense, and with
more range than a box of crayons.
The glass is light ... very light
because it's very thin. And the edges
are smooth. This is WASSER
GLASS, the newest and most unique
glass made anywhere.
WASSER GLASS is hand cast in
super thin, tile-like squares. It's only
1/16" thick, so your finished pieces
weigh much less. They're easier to
install or hang, and there is less
danger of them pulling apart under
their own weight. WASSER GLASS
is fully compatible with WASSER
CLEAR or other 90 expansion
glasses.
WASSER is very easy to cut. The
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This opalescent glass is available in
38 base contemporary colours. The
patterned sheets are unique handmade designs in unlimited patterns.
WASSER GLASS is made by a
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compatible with every other colour. It
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Available in three sheet sizes, or in
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WASSER GLASS is produced in a
wide variety of colours and shades,
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Available from Sydney Stained
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Sample sets will also be available.
n.g.
brown
and associates
•
Manufacturers of gas burners and controls for
furnaces, annealers, slumpers,
flame polishing etc.
Temperalure conlrol equipment.
Oxygen atmosphere analysers.
Balances and weights for weighing chemicals.
Hand held and bench mounted larches.
Suppliers 10 most of the hal gloss workers.
New generation recuperating hal glass
burners available 10
reduce gas consumption.
•
For lull details contact:
N.G. Brown & Assoc. Pty. Ltd.
7 Albert Street, Richmond 3121.
(03) 428 7766 (03) 428 1588
Ask for Mark Brabham.
n.g.
brown
and associates
•
12
MEMBERSHIP
Dear ex, present and future members,
Membership fees are due on January 1, so if you'd like the benefits of Ausglass in 1988, please send your cheques as
soon as possible to me care of 68B Woodville Road, Woodville, SA 5011.
If you have changed your address, please let me know - we would like to keep you up to date.
And if you know of anyone interested in joining Ausglass for the first time, let me know so that forms and information can
be sent out, thank you.
For those who have joined late 1987 a letter will follow, informing you of your standing.
Declan Somervile
Membership Officer
MEAT
MARKET
CRAFTS
CENTRE
Gas and Fuel Glass Award 1988
Exhibition
Potential participants are requested
to submit 3-5 major exhibition pieces
with the requirement that gas be
used in the production process (glass
kiln and torches used for testing gas
compatibility included). Exhibition
held from 22nd June to 17th July,
1988.
A non acquisition award of $2,000
per category, those being:
(A) The finest conceptual or sculptural piece.
(B) The best functional work.
Application should be made to
Clinton Greenwood, C/- Meat Market
Crafts Centre, 42 Courtney Street,
~Iorth Melbourne 3051, telephone (0)
329 9966, by 5th February, 1988.
All entries must consist of name,
address and contact phone number,
accompanied by photographs of
recent work with an indication of the
nature of work.
For further information contact
Clinton Greenwood (M.M.C.C.).
STATE EDITORS:
TASMANIA - Kathy SinkoraiJames
Dobson
c/- The Cottage, Clarendon,
Evandale 7212 (003) 98 6209
NSW - Deb Cocks
31 Emerald Street, Narrabeen 2101
ACT - Hero Nelson/Patrick de Sumo
c/- The Glass Workshop, Canberra
School of Art GPO Box 1561,
Canberra, ACT 2601
VICTORIA - Julie Brand
76 King William Street, Fitzroy 3065
SYDNEY STAINED Ph.
QLASS
660 7424
DISTRIBUTORS OF WASSER GLASS
THIS IS A THIN, SMOOTH EDGED GLASS AVAILABLE IN 38 COLOURS. COMPATIBLE WITH
EACH OTHER AND WITH BULLSEYE. SUPERB TO CUT.
• GLASS PAINTS AND ENAMELS
• FUSING POWDER COLOURS
• TOOLS, BOOKS, GLASS AND ALL SUPPLIES FOR STAINED GLASS AND FUSING
39 PYRMONT 0T PYRMONT
N0W 2009
13
AUSGLASS ... The Australian Association of
Glass Artists
MEMBERSHIP FORM
RETURN TO:
Declan Somer vile
68 & Woodville Rd., Woodville, 5011,
Name in full
.
Given name
Surname
Mailing address
... ... ...
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...
Postcode
Telephone No .........•..............•.•.............
Please indicate in which area of glass work you are predominatly interested
D
D
Hot
D
Flat
D
Flame
Other (please specify)
Please indicate which category of membership requested:
A Associate membership
D
1. open to any interested person
2. Fee $20
B. Affiliated membership
D
1. open to interested organisations, institutions, company's, libraries etc.
2. Fee $25
C. Student membership/trainee
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1. open to all full-time students or trainee's
2. Fee $20
D. Full membership
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1. Full membership is granted after 12 months membership as associate or student/trainee to committed
glass workers who are nominated by an existing members
2. Fee $30
3. If newly applying as opposed to renewal, nominated by........................................... .
.
For all categories - supply a biographical summary related to glass interests - over-seas study, interests in
future, exhibitions, awards, etc.
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If applying for student membership - supply details of course attending